NIVERSITY  OF  ILLINOIS  BULLETIN 

ISSUED  WEEKLY 
1.  XVII  MARCH  15,  1920  No.  29 

tered  as  second-class  matter  December  11,  1912.  at  the  post  office  at  Urbana,  Illinois,  under  the  Act 
of  August  24,  1912.  Acceptance  for  mailing  at  the  special  rate  of  postage  provided  for  in  section 
1103,  Act  of  October  3,  1917,  authorized  July  31,  1918.) 


THE  RICKER   LIBRARY 

OF 

ARCHITECTURE 

BY 

N.  C.    CURTIS 


PUBLISHED  BY  THE  UNIVERSITY  OF  ILLINOIS 
URBANA 


Hm 


ONE  OF  PIRANESI'S  COMPOSITIONS 
PLATE  14  OF  "OUVBES  CHOISEES" 


THE  RICKER  LIBRARY 

A  FAMILIAR  TALK  TO 

Students  of  Architecture 


IN 


The  University  of  Illinois 


BY 

N.  C.  CURTIS 


1920 


"L'  amore  di  qualunque  cosa  e  figliuolo  d'essa  cog- 
nizione.  L'amore  e  tanto  piu  fervente,  quanto  la 
cognizione  e  piu  certa." 

("THE  KNOWLEDGE  OF  A  THING  ENGENDERS 
LOVE  OF  IT;  THE  MORE  EXACT  THE  KNOWL- 
EDGE THE  MORE  FERVENT  THE  LOVE.") 

Leonardo  da  Vinci. 


CONTENTS 

CHAPTER  I. — Character  and  Importance  of  the 
Ricker  Library  of  Architecture. 

CHAPTER  II.— The  Early  Literature  of  Architec- 
ture. 

CHAPTER  III.— Modern  Architectural  Books. 

CHAPTER  IV.— A  List  of  General  Works  on  Archi- 
tecture Recommended  to  Architec- 
tural Students. 

APPENDIX  (A)  —A  List  of  Old  and  Rare  Books 
Contained  in  the  Ricker  Library. 

APPENDIX  (B)  —General  Classification  of  Books  on 
Architecture  and  Related  Subjects 
According  to  the  Dewey  Decimal 
System,  With  a  Graphical  Indica- 
tion of  the  Relative  Content  of 
Each  Class  in  the  Ricker  Library. 


ILLUSTRATIONS 

Page 

A  Composition  by  Piranesi Frontispiece 

Portrait  of  Dr.  Ricker 8 

View  of  the  Interior  of  the  Ricker  Library. ...  20 

A  Composition  by  Hulot.    From  d'Espouy. ...  26 

Restoration  of  the  Altar  of  Zeus  at  Pergamos.  .  32 

Drawing     by    Letarouilly  36 

A  Mediaeval  War  Engine,  after  Viollet-le-Duc  46 

A  Doorway,  East  Borshan,  Norfolk 72 


INTRODUCTORY  NOTE 

During  the  past  year  the  Library  Com- 
mittee of  the  College  of  Engineering  in  the 
University  of  Illinois  has  concerned  itself 
with  the  difficult  problem  of  how  our  students 
may  be  brought  to  a  realization  of  the  im- 
portance of  reading,  on  their  own  initiative, 
good  and  useful  books,  especially  the  techni- 
cal literature  of  the  course  in  which  they  are 
enrolled  and  are  presumed  to  be  primarily 
interested.  The  College  of  Engineering 
possesses  very  full  and  valuable  collections  of 
books  in  every  one  of  its  special  departments 
of  study,  and  it  is  the  constant  hope  of  the 
instructors  that  students  will  employ  these 
documents  to  their  utmost  advantage.  The 
importance  of  purposeful  reading  as  a  factor 
in  education  does  not  need  to  be  demonstrated, 
but  it  is  sometimes  necessary  to  recall  it  to 
mind.  It  is  with  the  hope  that  students  of 
architecture  may  be  led  to  drink  more  deeply 
of  the  Pierian  Spring  and  thereby  avoid  the 
dangers  of  meager  draughts,  that  this  some- 
what limited  discussion  of  the  books  in  the 
Ricker  Library  of  Architecture  has  been 
prepared. 

Urbana,  Illinois,  1919  N.  C.  C. 


DR.  NATHAN  CLIFFORD  RICKER 

REPBODUCED  FBOM  A  MOSAIC  PORTRAIT  IN  THE  RICHER  LIBRABT 
BY  PROFESSOR  WELLS 


THE  RICKER  LIBRARY 

A    FAMILIAR  TALK  TO    STUDENTS    OF    ARCHITEC- 
TURE   IN    THE    UNIVERSITY    OF    ILLINOIS 

By  N.  C.  CURTIS 
CHAPTER  I. 

In  his  lecture  on  the  study  of  architecture, 
Mr.  Reginald  Blomfield  makes  the  following 
remark:  "The  reading  of  books  will  not  make 
an  architect;  his  proper  study  must  always  be 
buildings."  By  this  statement  we  may  take 
him  to  mean  either  the  reading  of  books 
alone,  or  the  reading  of  them  in  the  wrong 
way.  But  it  must  be  remembered  that  the 
lecturer  is  an  Englishman  and  that  his  obser- 
vation was  addressed  to  students  of  the  Royal 
Academy.  In  every  part  of  England,  as  in 
other  European  countries,  there  are  to  be 
found  historic  buildings  which  exemplify 
every  phase  of  architectural  development; 
edifices  which  are  monuments,  and  about 
which  architectural  history  has  been  written 
and  numerous  monographs  made.  They  are, 
in  fact,  the  solid  foundation  of  historic  re- 
search. Here  in  America  our  case  is  different; 
and  especially  is  it  different  in  Illinois.  Much 
as  we  may  value  and  admire  what  we  have 
inherited  in  the  way  of  architecture  from  our 


Colonial  forefathers,  English,  Dutch,  French, 
and  Spanish,  we  cannot  think  of  these  posses- 
sions as  being  architecturally  comparable  to 
the  historic  monuments  of  the  Old  World; 
at  least,  not  in  the  same  sense  of  independent 
style.  The  distinction  is  at  once  apparent. 
Over  there  architectural  students  have  their 
material  ready  at  hand;  they  are  surrounded 
by  the  great  buildings  of  the  past  and  may 
see  all  and  know  all  at  small  expense  in  money 
and  comparatively  little  in  time.  Over  here 
many  of  us  will  never  be  able  to  contemplate 
those  great  conceptions  of  genius  except 
through  the  eyes  of  the  transcriber.  How  shall 
we  see  otherwise  then,  except  we  surround 
ourselves  with  books,  pictures,  drawings, 
casts,  and  descriptions? 

Therefore,  how  to  know  books,  how  to 
use  them,  how  to  make  the  most  of  them, 
become  important  questions. 

In  this  connection  the  value  of  museum 
collections  should  not  be  overlooked.  The 
University  maintains  several  collections  which 
have  a  distinct  bearing  upon  architectural 
study.  Especially  useful  are  the  Museums  of 
Classical  Archaeology  and  Art  and  of  Euro- 
pean Culture  located  in  Lincoln  Hall.  These 
contain  among  many  other  things,  casts  of 
Greek,  Roman,  Romanesque,  Gothic  and 
Renaissance  sculpture,  costumes,  reproduc- 
tions of  paintings,  and  numerous  originals,  as 

10 


well  as  models  of  other  historic  antiquities. 

We  are  fortunate  in  having  at  the  Uni- 
versity of  Illinois  one  of  the  great  architec- 
tural libraries  of  the  country:  The  Ricker 
Library  of  Architecture.  In  a  published 
description  of  the  aims,  ideals,  and  resources 
of  the  School  of  Architecture  at  Illinois, 
printed  for  the  department  in  1913,  S.  F.  Kim- 
ball,  in  referring  to  the  library,  says  this: 
"The  really  invaluable  resource  of  the  school 
is  its  superb  collection  of  architectural  books. 
The  solid  ranges  of  folios,  which  must  serve 
as  a  substitute  for  the  surroundings  of 
students  in  Paris  or  Rome,  are  probably  sur- 
passed in  but  a  single  architectural  school  of 
America.  The  Avery  Library  of  Columbia 
is  thought  to  be  the  most  complete  of  all  spec- 
ial libraries  of  architecture,  and  is  undoubtedly 
the  first  in  America  for  research  in  architectu- 
ral history.  It  may  be  doubted,  however, 
whether  even  the  Avery  Library  is  superior 
to  the  library  at  Illinois  for  serving  the  prime 
function  of  a  school  collection,  the  furnishing 
of  precedent  and  inspiration  for  design.'' 

Since  that  time  the  Ricker  Library  has 
been  greatly  augmented  and  now  numbers 
about  8,000  volumes.  It  has  not  only  main- 
tained its  character  as  a  first  rate  working 
library  for  undergraduate  students,  but  has 
also  developed  resources  for  research  that 
compare  very  favorably  with  those  of  the 

11 


Avery  Library.  In  other  respects  the  com- 
parison drawn  then  still  obtains,  the  Ricker 
Library  holding  its  rank  of  second  place  in 
the  number  of  titles  catalogued,  among 
special  architectural  libraries  in  America. 
Other  seminar  libraries  of  the  University  also 
contain  a  great  amount  of  material  which  is 
valuable  to  the  student  of  architecture. 

The  Ricker  Library,  moreover,  has  this 
characteristic,  which  offers  peculiar  advan- 
tages: the  books  are  all  placed  in  open  stacks 
and  cases  in  one  large,  well-lighted  hall,  and 
are  easily  accessible.  Nothing  is  locked  in  a 
forbidding  stack-room  which  only  the  privil- 
eged may  enter.  You  may  browse  at  will  and 
make  your  choice.  Consider  for  a  moment 
what  this  opportunity  means  and  do  not 
forget  to  make  a  proper  use  of  your  liberty, 
remembering  the  due  respect  that  should  be 
accorded  fine  books.  All  books  should  be 
carefully  handled,  for  age,  authority,  and 
rarity  which  correspond  to  age,  learning,  and 
position  in  man,  are  qualities  that  should 
command  the  highest  respect. 

Few  students  of  architecture  realize  the 
vital  importance  of  the  purposeful  use  of  the 
library  as  a  part  of  their  training.  Is  it  not  a 
fact  that  at  the  end  of  your  four  years'  course 
of  study,  you  do  not  know  as  much  about  the 
great  volumes  contained  in  this  library  as  you 
ought  to  know;  that  you  have  not  made  the 

12 


best  use  of  your  privileges  and  opportunities? 
And  whose  fault  is  it,  if  not  your  own?  This 
opportunity  will  occur  to  but  few  more  than 
once.  In  the  course  of  years  even  though  one 
or  two  individuals  may  return  for  further 
study  and  research  or  may  be  able  to  build  up 
a  fair  private  library  for  their  office  use,  yet 
the  majority  will  accumulate  only  a  few  of 
the  most  useful  works,  together  with  a  collec- 
tion of  plates  of  contemporary  buildings. 
Whatever  your  case  may  be,  while  you  are 
here  you  should  learn  to  know  the  better  and 
more  useful  books,  also  remembering:  that, 
even  though  reprints  are  made,  yet  on  account 
of  rarity  and  high  cost,  many  of  the  most 
important  architectural  folios  are  scarcely 
obtainable  and  are  not  to  be  consulted  out- 
side of  great  libraries. 

You  should  then  be  conscious  every  day 
of  the  rare  opportunity  that  is  within  your 
grasp  as  you  pass  so  often  under  that  splendid 
mosaic  inscription  which  marks  the  entrance 
to  the  Ricker  Library.* 

On  every  side  of  you  are  folios  recording 
the  labors  of  curious  and  painstaking  in- 
vestigators in  every  land,  monumental  records 
of  scrutinizing  appraisal  and  erudition,  the 
work  of  the  archaeologist,  and  those  splendid 
conjectural  restorations  of  marvellous  bril- 


*A  dedicatory  pane!  in  g'ass  and   encaustic   mo?aic   designed    and    executed    by 
Piofessor  N.  A.  Wells  and  set  up  over  the  portal  of  the  Ricker  Library. 

13 


liancy  and  power  which  seem  to  be  within 
the  special  province  of  the  French.  As  archi- 
tectural students  you  should  know  something 
about  the  authors  of  these  books,  and  especial- 
ly about  the  pensioners  of  the  French 
Academy  at  Rome;  how  their  unusual  genius 
for  architectural  research  and  interpretation 
is  discovered  and  how  it  is  fostered  and 
educated.  You  should  be  interested  in  finding 
out  how  their  investigations  are  conducted 
and  what  governments  and  scientific  societies 
have  been  instrumental  in  bringing  discoveries 
to  light.  Questions  like  these  stimulate  the 
intellectual  curiosity  and  you  soon  find  your- 
self eager  to  learn,  not  only  about  the  great 
buildings  of  the  past,  but  also  about  men  and 
books  in  your  profession. 

Let  the  writer  propose  to  you  a  few 
questions  which  you  ought  to  be  able  to 
answer  and  discuss  before  you  graduate,  if 
you  have  made  something  of  your  oppor- 
tunities. Suppose  you  were  asked  to  choose 
for  yourself  the  most  useful  and  inspiring 
book  that  the  designer  of  buildings  can  have 
at  his  elbow  in  his  office.  What  would  be 
your  answer  remembering  that  you  may 
select  only  one  out  of  all  the  hundreds  of 
great  books  on  architecture?  Remember  too, 
that  the  answer  is  not  one  of  personal  opinion 
but  of  fact.  Or  again,  suppose  you  were 
asked  to  choose  the  best  book  for  a  teacher 

14 


of  architecture,  who,  as  before,  may  have  but 
one  work  to  guide  him.  Which  will  it  be? 
Can  you  name  that  book  and  maintain  its 
preeminence  above  all  others?  It  is  there  on 
the  shelf  and  you  have  very  little  individual 
preference  in  the  matter.  It  is  obvious  that 
before  you  can  venture  an  opinion  on  these 
questions  and  countless  others  of  a  like 
nature,  you  must  have  acquired  a  consider- 
able knowledge  of  books,  and  have  also  edu- 
cated your  judgment. 

Let  us  consider  what  may  be  said  to 
constitute  broadly  a  reasonable  familiarity 
with  our  architectural  library,  a  familiarity 
that  your  four  years'  contact  with  it  should 
have  brought  to  you. 

First  of  all,  learn  to  distinguish  and 
identify  the  best  works  and  to  retain  this 
classification  in  mind.  A  casual  inspection 
will  usually  help  you  in  this,  even  before  you 
consult  the  contents.  There  is  an  aristocracy 
among  books,  the  intellectual  authority  of  the 
writers  easily  standing  out,  and  indeed, 
showing  through  the  covers.  A  fine  book  will 
have  an  unmistakable  external  character,  due 
usually  to  good  binding  and  printcraft.  The 
contents  must  and  will  speak  for  itself,  speak- 
ing to  you  in  a  language  proportioned  to 
your  comprehension  and  understanding.  See 
to  it,  then,  that  your  understanding  is  ripened 
by  good  reading  and  high  thinking.  Shallow, 

15 


worthless  books  sometimes  masquerade  in 
fine  attire,  but  no  one  is  deceived  thereby. 
Although  fine  bindings  occasionally  wear  out 
and  have  to  be  replaced  usually  by  some  sort 
of  uniform  style  of  cover,  such  cases  should 
be  treated  as  exceptions. 

After  four  years,  is  it  too  much  to  expect 
that  you  should  be  able  to '  name  the  titles 
and  authors  of  at  least  two  hundred  books, 
including  folios;  to  know  the  contents  of  some 
of  them  thoroughly  and  to  be  able  to  discuss 
all  of  them  with  architects  and  other  people 
of  culture  whose  inclinations  have  led  them 
to  seek  knowledge  in  your  own  field? 

You  should  have  a  clear  mental  picture 
of  how  each  of  these  books  appears;  whether 
it  is  large,  small,  or  medium  size,  thick  or 
thin.  You  should  be  able  to  put  your  finger 
on  each  of  these  volumes  without  reference  to 
the  card-catalogue.  You  do  not  know  the 
library  if  you  have  to  continually  run  to  the 
card-index.  This  applies  equally  well  to  your 
private  library. 

So  much  for  externals.  That  information 
would  be  easily  gained,  but  is  essential,  never- 
theless. Far  more  significant  is  a  sufficient 
knowledge  of  contents,  a  knowledge  not  so 
easily  achieved.  This  implies  a  special  sort 
of  familiarity  quite  different  from  that  which 
you  have  gained  about  architecture  in  general 
through  your  various  courses  of  study.  It  is 

16 


largely  the  knowledge  of  where  to  find  what 
you  wish  to  know. 

As  an  illustration,  suppose  your  interest 
has  been  aroused  by  a  photograph  of  the 
"Trilithon,"  that  emplacement  of  three  enor- 
mous stones  in  the  substructure  of  the  Temple 
of  the  Sun  in  Syria.  You  are  curious  to  dis- 
cover other  instances  of  the  use  by  the  ancients 
of  large  stones  in  their  buildings.  On  such  a 
quest  a  search  through  the  card-index  would 
avail  you  little  or  nothing,  because  the  card- 
index  refers  to  subject  matter  of  entire  books; 
it  is  not,  generally  speaking,  analytical.  You 
must  depend  on  your  knowledge  of  the  lib- 
rary and  go  directly  to  the  books.  Take 
another  question,  that  of  architectural  design; 
let  us  say,  vertical  communications  in  large 
buildings.  The  card-index  would  not  help 
you  much  in  your  search  for  the  possible 
arrangements  of  monumental  staircases  in 
plan  composition,  a  matter  purely  of  parti. 
Here  again  you  must  know  where  to  look. 
You  must  depend  first  on  your  general 
knowledge  of  great  staircases,  remembering 
that  this  feature  of  buildings  was  given  little 
attention  by  architects  until  the  Italian 
Renaissance.  You  must  then  search  the 
folios  of  Renaissance  and  of  modern  buildings 
selecting  such  plans  and  parts  of  plans  as  will 
give  you  the  best  classification,  and  finally 
bring  this  knowledge  to  bear  upon  the  solu- 

17 


tion  of  your  own  problem.  It  if  happened  to 
be  a  matter  of  elevators  as  well  as  stairs,  the 
card-index  might  serve  you  more  effectively; 
but  the  chances  are  that  the  references  would 
fail  to  satisfy  your  purposes  exactly. 

Many  inquiries  of  a  like  nature  are  con- 
tinually arising,  especially  such  as  involve 
con-parative  study,  for  the  solution  of  which 
you  must  know  the  library  intimately.  The 
assembling  of  correlated  facts  relating  to  a 
single  topic  is  a  perfectly  legitimate  and  useful 
field  of  book-research,  and  one  which  you 
must  early  begin  to  practise.  Few  of  you  will 
ever  have  an  opportunity  to  reconstruct  from 
a  few  scattered  fragments  an  imaginative  yet 
convincing  architectural  abstraction,  still 
fewer  will  have  a  chance  to  do  research  with 
the  spade  after  the  manner  of  the  archaeolo- 
gist, but  all  of  you  may  dig  into  books  and 
from  them  unearth  many  ideas  of  incalcul- 
able value  to  yourselves,  and  sometimes 
thereby  perform  a  service  to  others. 

Up  to  this  point  the  writer  has  sought  to 
make  evident  two  important  propositions:  to 
emphasize  first,  the  importance  of  the  archi- 
tectural library,  and  second,  the  ability  to 
use  it.  It  has  been  his  object  in  calling  atten- 
tion to  the  rare  resources  of  the  Ricker  Library 
to  urge  students  to  avail  themselves  as  much 
as  possible  of  these  resources  for  the  study 
of  architecture,  and  to  show  them  that  in 

18 


order  to  do  this  effectively,  they  must  learn 
to  know  the  library  very  soon  after  entering 
the  school. 

Appended  to  this  paper  you  will  find  a 
list  of  books,  about  two  hundred  in  all.  As 
many  of  these  titles  represent  books  of  indis- 
puted  fame,  you  should  become  acquainted 
with  them,  if  you  do  not  know  them.  Neces- 
sarily many  important  architectural  books 
have  been  omitted  from  the  list  that  follows 
on  account  of  its  limited  scope.*  But  as  has 
been  previously  noted,  the  library  is  rich  in 
material  for  research  and  for  special  studies 
in  architecture. 


*Some  books  which  other  instructors  would  have  included,   have   been   omitted. 
This  is  but  natural  since  design  is  so  largely  a  matter  of  taste  and  temperament. 

19 


CHAPTER  II. 

The  oldest  book  on  architecture  handed 
down  to  us  from  antiquity  is  the  Architecture 
of  Vitruvius.  This  book  was  held  in  great 
veneration  by  Renaissance  architects, — doubt- 
less for  the  following  reasons:  it  was  the  only 
text-book  then  in  existence;  it  treated  of 
Roman  architecture,  and  it  appealed  to  the 
literary  predilections  of  the  early  scholars.  Its 
contents  certainly  do  not  justify  its  archi- 
tectural reputation  and  it  may  be  doubted 
whether  its  teachings  really  ever  have"  in- 
fluenced architecture  very  much.  Vitruvius 
is  said  to  have  died  before  the  first  century 
B.  C.,  but  there  is  a  well  founded  belief  that 
he  lived  several  centuries  later,  and  was 
merely  a  dilettante  amusing  himself  by  writing 
on  architecture  about  which  he  actually  knew 
very  little.  If  the  first  fact  is  true,  he  never 
actually  saw  Roman  architecture  at  its 
grandest  phase,  that  of  imperial  Rome.  In 
either  case  his  interpretation  of  Roman  archi- 
tecture fell  far  short  of  what  it  actually  was 
or  came  to  be.  His  Architecture  is  a  book  of 
technical  and  constructive  details,  hard  and 
fast  rules  of  proportion— that  artists  have 
always  chosen  to  disregard.  Read  the  trans- 
lations of  Vitruvius,  if  you  will,  but  do  not 
spend  time  studying  him  as  you  will  profit 


little  thereby.  In  the  library  there  are 
several  renditions,  probably  the  best  known 
is  that  of  M.  H.  Morgan. 

A  more  remarkable  work  is  Alberti's 
De  Re  Edificatoria,  the  first  printed  book  of 
the  long  series  on  architecture  that  has  con- 
tinued without  a  break  up  to  the  present  day. 
It  appeared  in  1485,  some  years  after  the 
author's  death. 

Printing  presses  were  set  up  in  Rome  in 
1467,  in  Venice  in  1469,  in  Florence  and  other 
north  Italian  cities  in  1471.  At  first  only  the 
classics  were  printed.  Vitruvius'  famous 
work,  known  to  the  early  Renaissance  archi- 
tects in  MSS,  was  also  printed  for  the  first 
time  shortly  after  Alberti's.  The  Italian 
translation  which  did  not  appear  until  1521 
was  made  by  Calvo  at  the  expense  of  Raphael, 
to  aid  the  latter,  it  is  said,  in  his  architectural 
work.  The  original  translated  manuscript 
has  been  preserved  and  is  now  in  the  Munich 
Library. 

It  is  stated  that  of  all  books  on  architec- 
ture published  at  this  time,  the  one  that  had 
the  greatest  reputation  was  Palladio's  best 
known  literary  effort,  /  quattro  libri  dell* 
architectturay  printed  in  Venice  in  1570.  He 
also  wrote  other  work.  In  1554  he  published 
Uanttchita  di  Roma^  the  results  of  studies 
made  by  himself.  Many  of  the  other  leading 
architects  of  the  16th  century  published 

22 


books  on  architecture;  Serlio  in  1540,  and 
1547;  Vignola  in  1563;  Scarnozzi  in  1615. 
Vignola  was  the  author  of  Regola  delli  cinque 
ordini  d' architecttura.  Peace  to  his  ashes!  Let 
us  not  hold  him  responsible  for  the  many 
architectural  transgressions  that  have  been 
committed  in  his  name.  He  has  kept  many 
students  from  straying  far  from  the  truth  but 
countless  others  have  been  led  into  the  delu- 
sion that  orders  of  all  sizes  may  have  the 
same  proportions.  Filarete  wrote  a  work 
that  was  never  printed  and  only  portions  of 
the  original  have  been  preserved,  //  trattato 
d'architecttura,  illustrated,  it  is  said,  by  his 
own  designs  and  by  two  hundred  fifty  draw- 
ings of  the  Colosseum,  Mole  of  Hadrian, 
and  other  ancient  buildings  of  Rome. 

All  these  writers  show  the  enthusiasm 
for  scholarship  as  well  as  for  the  antique  that 
animated  the  Renaissance  artists;  but  with 
the  possible  exception  of  Palladio  it  is  doubt- 
ful whether  any  of  them  approached  their 
subject  from  the  standpoint  of  the  architect, 
for  they  were  too  much  influenced  by  the 
method  of  Vitruvius.  It  remained  for  the 
pensioners  of  the  French  Academy  at  Rome 
to  show  the  world  how  the  results  of  the 
study  of  antique  architecture  should  be  re- 
corded so  that  investigations  might  be  made 
of  practical  use  to  architects  and  students 
everywhere. 

23 


But  the  Renaissance  architects  knew 
how  to  make  use  of  the  knowledge  and  in- 
spiration they  had  gained  for  themselves 
by  the  contemplation  and  study  of  the 
antique,  and  if  this  ability  does  not  show 
forth  so  much  in  their  books,  it  assuredly 
shows  forth  brilliantly  in  their  works.  With 
moderns  exactly  the  reverse  seems  to  be  true. 
We  have  wonderful  treatises  on  architecture, 
measured  drawings  and  restorations  of  antique 
art,  such  as  were  never  dreamt  of  in  the  16th 
century;  but  instead  of  our  imaginations 
being  kindled  as  theirs  were  kindled,  the 
spirit  of  free  adaptation,  if  not  wholly  ex- 
tinguished, appears  with  few  exceptions  to 
lie  inert  and  dormant  before  the  power  of  our 
masters. 

The  question  is  likely  to  be  asked:  Have 
we  no  literary  legacy  from  the  Gothic  period? 
The  best  known  original  source  is  Villard  de 
Honecourt's  sketch  book,  an  album  of  details 
principally,  with  one  or  two  sketches  of  plans. 
This  book  is  said  to  have  had  rather  a  dis- 
astrous influence  upon  the  architects  of  the 
Gothic  Revival,  who  regarded  it  as  confirm- 
ing their  own  habit  of  looking  at  architecture 
as  a  matter  of  detail.  The  difference  between 
this  point  of  view  and  that  of  the  Renaissance 
architects  is  evident;  the  latter  seeking  to 
analyze  buildings  by  measurement  and  not 
by  mere  sketches  of  external  features.  The 

24 


practise  of  making  sketches  is,  of  course,  a 
good  one  for  students;  but  it  must  be  remem- 
bered that  mere  sketches  of  detail  without 
some  methodical  attempt  at  analysis  of  the 
architecture,  such  as  measurements,  profiles, 
and  the  like,  are  only  of  value  in  developing 
skill  in  freehand  drawing,  and  will  be  of  very 
little  service  to  the  designer.  We  say  this 
without  thought  of  discouraging  what  is  in 
itself  a  very  necessary  practise.  Our  students 
do  far  too  little  independent  sketching  of  any 
sort. 

All  of  the  books  so  far  touched  upon, 
being  primarily  of  antiquarian  interest,  make 
their  appeal  chiefly  to  the  bibliophile;  con- 
sequently it  is  not  to  be  expected  that  the 
average  undergraduate  student  will  be  in- 
clined to  bestow  much  attention  on  them 
unless  he  happens  to  have  an  unusual  literary 
turn.  The  list  of  books  consulted  by  students 
in  the  course  of  a  year  on  such  subjects  as 
design  and  history  is  not  large  or  varied  as  a 
rule,  and  few  of  them  date  prior  to  the  19th 
century. 

But  there  is  one  great  exception,  Piranesi. 
After  speaking  of  his  work  and  its  value  in 
the  study  of  design  I  shall  mention  a  few 
other  books  which  students  of  architecture 
ought  to  know  about,  if  not  to  put  to  practical 
use  in  their  daily  work. 


25 


A  COMPOSITION  BY  HULOT  FROM  D'ESPOUY 


At  once  the  inspiration  and  despair  of 
young  draftsmen,  probably  no  book  of 
architectural  compositions  holds  a  more  secure 
place  in  their  estimation  than  the  collection 
of  Piranesi's  Oeuvres  Choisies.  Besides  de- 
lineation there  is  an  immense  amount  to  be 
learned  about  architectural  composition  from 
his  wonderful  etchings.  Piranesi  was  born  in 
1720  and  died  in  1778.  The  following  estimate 
of  this  great  genius  is  taken  from  a  paper  by 
Russell  Sturgis.  After  commenting  on  his 
work  as  an  architect,  which  is  of  little  account, 
he  says:  "Piranesi  is  known  now  in  one  way 
only,  and  in  that  way  is  not  half  so  well  known 

as  he  should  be The  prints   from   his 

large  etchings  bind  up  in  twenty-four  folio 
volumes,  more  or  less,  according  to  the  fancies 

of  the  owner It  is  true  that  a  hundred 

plates  selected  out  of  the  mass  contain  all 
that  is  best  in  his  work,  and  that  twice  as  many 
would  furnish  the  student  with  all  that  he  need 

study It    is    not,    the  present    writer 

believes,  because  he  himself  is  an  enthusiastic 
student  of  architecture  that  Piranesi's  work 

seems  attractive The  thing  to  look  for 

in  Piranesi  is  not  so  much  architecture  (there  is 
something  to  say  on  that  side  of  him  too)  as 
fine  and  masterly  engraving  of  original  subject. 
He  was  one  of  the  last  of  the  great  painter- 
etchers  and  painter-engravers  of  old  times, 
and  by  no  means  the  least  of  them.  It  may 

27 


be  extravagant  to  say,  as  some  have  said,  that 
his  work  would  be  gathered  as  eagerly  as 
Rembrandt's  if  it  were  not  so  bulky; but  it  is 
not  extravagant  to  say  that  no  man  has  seen 
all  that  the  engraver's  art  is  capable  of  until 
he  has  seen  and  studied  nearly  everything 
that  Piranesi  has  left." 

For  the  purposes  of  this  paper  architec- 
tural books  may  be  broadly  classified  as 
follows:  books  of  purely  antiquarian  interest, 
books  embodying  the  results  of  archaeological 
research,  books  of  reference  for  the  study  of 
of  design.  As  has  been  indicated,  most  of  the 
works  hitherto  mentioned  may  be  relegated 
to  the  first  class.  Histories  of  architecture 
may  be  placed  in  the  second  group,  although 
in  its  primary  meaning  archaeology  deals 
specifically  with  the  interpretation  of  frag- 
ments dug  out  of  the  ground.  All  works  such 
as  topographical  studies,  monographs,  books 
of  measured  drawings  and  photographs,  the 
theory  of  architecture  and  the  like,  may  be 
grouped  together  under  the  general  head  of 
reference  books.  Although  these  distinctions 
are  not  very  scientific  or  accurate,  from  the 
view  point  of  the  undergraduate  student  they 
are  perhaps  sufficiently  definite.  Moreover, 
classifications  by  themselves  do  not  mean 
very  much,  and  you  will  soon  discover  that 
it  is  futile  to  try  to  fence  ofF  one  part  of  the 
field  of  art  from  another  part. 

28 


There  are  a  dozen  or  more  famous  works, 
which  in  the  light  of  fuller  and  more  exhaus- 
tive research  or  by  reason  of  more  up-to-date 
reproductive  processes,  have  been  superseded 
and  pushed  back  from  the  third  to  the  second 
class,  and  are  now  thought  of  as,  at  least 
archaeological,  if  not  antiquarian.  These 
books  in  their  day  exerted  a  profound  in- 
fluence on  building  design,  but  are  now  in- 
frequently consulted  by  students  of  archi- 
tectural design.  Such  publications  as  those  of 
the  "Society  of  Dilettanti,"  fall  into  this 
group. 

The  Society  of  Dilettanti  was  an  associa- 
tion of  English  scholars,  travelers,  and  collec- 
tors, founded  in  London  in  1733  for  the  pur- 
poses of  lending  aid  to  the  study  of  Roman 
and  Greek  art  and  for  the  purchase  of  anti- 
quities. The  Society  subsidized  the  publica- 
tion of  a  number  of  volumes  during  the  latter 
part  of  the  18th  century.  James  Dawkins' 
and  Robert  Wood's  researches  better  known 
as  Wood's  Ruins  of  Eaalbec  and  Ruins  of 
Palmyra  appeared  about  1750.  The  greatest 
work  published  at  this  time  was  Antiquities 
of  Athens  by  Stuart  and  Revett.  The  painter 
James  Stuart  and  the  architect  Nicholas 
Revett  reached  Athens  in  1751  and  remained 
there  three  years;  their  enterprise  being 
accounted  the  most  important  so  far  under- 
taken. The  plates  in  their  work  are  beauti- 

29 


fully  engraved.  The  Society  later  undertook 
the  survey  and  publication,  at  their  own 
expense,  of  Antiquities  of  Ionia  and  Anti- 
quities of  Attica. 

The  Architectural  Antiquities  of  Rome, 
measured  and  delineated  by  Taylor  and 
Cresy,  architects  and  Fellows  of  the  Society 
of  Antiquarians,  is  a  fine  work  in  two  volumes, 
published  in  London,  1821.  The  methods 
pursued  by  the  authors  of  this  work  more 
nearly  approach  the  modern  mode  of  repro- 
duction, inasmuch  as  the  line  drawings  were 
scaled  with  scientific  accuracy  and  were  fre- 
quently supplemented  by  details  of  ornament 
and  decoration  rendered  in  light  and  shade. 
This  result  was  accomplished  by  elegant  line 
engravings  and  well  composed  lithographs, 
which  remain  an  inspiration  to  the  student 
today. 

An  earlier  work  in  which  the  drawings 
are  also  engraved  to  simulate  relief,  is  that  of 
Desgodetz.  The  edition  in  the  Ricker  Library 
is  the  translation  and  revision  of  G.  Marshall, 
architect,  printed  in  London  in  1795.  Up  to 
that  time  Desgodetz'  work  was  the  most 
accurate  and  complete  of  any  that  had  been 
offered  to  the  world  on  the  subject  of  Roman 
architecture;  but,  although  as  Marshall  says, 
the  book  "was  constantly  in  request  as  the 
standard  of  ancient  and  modern  art,"  the 
originals  were  scarce  and  until  his  adaptation 
was  issued,  were  hardly  to  be  consulted  by 

30 


students.  The  dedication  of  the  original, 
which  was  issued  by  Desgodetz  in  1682,  was 
addressed  to  Colbert,  minister  of  Louis  XIV, 
and  is  sufficiently  fulsome.  After  blessing 
heaven  for  his  birth  "in  an  age  so  full  of 
wonders,"  wherein  the  monuments  of  anti- 
quity reared  by  the  Augustuses,  the  Trajans 
and  the  Antonines  "have  yielded  the  first 
place  in  the  temple  of  glory  to  the  invincible, 
the  great,  and  the  magnanimous  Louis,"  he 
concludes  his  epistle  by  requesting  his  lord- 
ship's permission  to  thank  him  "a  thousand 
times  for  casting  eyes  upon  me,  so  as  to  deign 
me  any  share  in  the  execution  of  those 
admirable  designs  which  you  daily  meditate 
for  the  glory  of  the  greatest  king  upon  earth." 
Marshall's  apostrophe,  directed  to  his  own 
monarch,  is  hardly  less  adulatory.  "Be 
pleased,  Sir,  therefore,"  he  says,  "to  favor 
this  representative  of  Roman  art  and  Roman 
power,  exerted  in  edifices  on  which  succeeding 
ages  have  gazed  with  wonder,  and  which  are 
likely  to  stand  unrivalled,  unless  your  Majes- 
ty's influence  should  enable  us  to  excel  them." 
Edifices  anciennes  de  Rome  by  Desgodetz, 
Paris,  1779,  was  one  of  the  architectural  books 
in  the  library  of  Thomas  Jefferson  which 
was  doubtless  frequently  consulted  by  him. 
Latrobe,  in  a  letter  to  the  President,  suggests 
that  he  verify  a  matter  of  proportions  by 
reference  to  this  authority. 

31 


RESTORATION  OF  THE  ALTAE  OF  ZEUS  AT  PERGAMOS 


While  on  the  subject  of  Classic  architec- 
ture, Gibbs'  book  of  Orders  should  not  be 
passed  over  without  mention.  This  work 
treating  of  the  details  and  proportions  of  the 
elements,  still  holds  its  own  among  many 
others  of  later  date,  and  is  a  safe  and  useful 
guide  for  students.  It  was  published  in  1724. 
James  Gibbs  was  a  famous  architect  whose 
name  has  been  often  coupled  with  that  of 
Wren.  He  was  the  architect  of  S.  Mary-le- 
Strand,  S.  Martin-in-the-Fields — -London 
churches — and  of  the  Radcliffe  Library,  Ox- 
ford, which  is  his  master  work. 

It  must  not  be  thought  that  architectural 
commentators  of  this  age  were  wholly  pre- 
occupied with  ancient  Greece  and  Rome. 
There  was  some  architecture  nearer  home,  as 
well,  worth  writing  about,  as  Desgodetz  took 
occasion  to  state  in  his  dedicatory  epistle. 
"To  turn  over  the  pages  of  seventeenth  and 
eighteenth-century  books  on  architecture," 
says  Simpson,  "is  in  itself  a  liberal  education. 
Marot,  Le  Pautre,  Blondel,  Mariette,  etc., 
take  one  back  to  the  days  of  the  fine  gentle- 
men and  full-bottomed  wigs,  to  the  stateli- 
ness  of  the  time  of  the  later  Louis." 

The  most  famous  of  these  works  is 
Blondel's  Architecture  Francaise,  a  treasure 
for  any  library  fortunate  enough  to  possess  it. 
Eight  volumes  were  contemplated,  but  four 
only  were  published  (1752-6).  The  plan  of  the 

33 


Tuileries  as  designed  by  de  1'Orme,  Bernini's 
gigantic  scheme  for  reconstructing  the  Louvre, 
together  with  Perrault's  design  for  a  similar 
rebuilding,  are  all  reproduced  in  Blondel's 
work.  It  is  interesting  to  recall  that  there  were 
three  Francois  Blondels,  who  were  noted 
architects.  The  beautiful  arch  of  S.  Denis, 
Paris,  which  as  a  composition  is  in  many 
respects  superior  to  the  triumphal  arches  of 
the  Romans,  was  designed  by  Francois 
Blondel  the  elder,  born  in  Picardy  in  1618. 
The  author  of  Archilectura  Francaise  was  a 
native  of  Rouen,  born  in  1705. 

Les  plus  Excellent  Bastiments  de  France 
published  in  1579,  is  especially  valuable  for 
its  records  of  many  buildings  which  have  since 
disappeared  or  suffered  mutilation.  It  is  a 
work  of  exquisite  draftsmanship,  excelling, 
in  this  quality,  the  works  of  the  Italians. 
The  writer  and  engraver  was  the  architect 
Du  Cerceau.  Many  of  Du  Cerceau's  most 
beautiful  original  drawings  are  repro4uced  in 
Ward's  French  Chateaux  and  Gardens  in  the 
XVIth  Century.  Concerning  the  work  of  Du 
Cerceau  this  author  says:  "No  other  country 
can  boast  so  complete  a  picture  of  its  Renais- 
sance architecture  as  seen  by  a  contempor- 
ary, still  less  one  by  the  trained  and  sym- 
pathetic hand  of  a  great  architect.  It  is  a 
picture  full  of  suggestion  for  architects  and 
designers  of  to-day,  to  whom  French  influence 

34 


makes  so  strong  an  appeal,  illustrating  as  it 
does  the  works,  not  only  of  Du  Cerceau  him- 
self, but  also  of  Philibert  de  1'Orme,  Pierre 
Lescot,  Jean  Goujon,  Jean  Bullant,  and  other 
less  known  or  unknown  names."  (For  a  list 
of  old  books  in  the  Ricker  Library  see  Appen- 
dix A.) 


35 


DRAWING  BY  LETAROUILLY 


CHAPTER  III 

The  19th  century  is  rich  in  the  fruits  of 
research  in  all  phases  of  architectural  art. 
The  student  of  archaeology  may  yet  have 
something  more  to  say  to  us  about  the  ex- 
ternal life  of  the  ancients;  but  in  the  field  of 
architecture,  so  far  as  it  is  concerned  with  the 
searching  observation  and  reconstruction  of 
the  monuments  of  the  past,  there  seems  little 
left  to  do. 

It  has  been  noticed  that:  "Scientific 
archaeology  has  done  much  to  help  us  to 
understand  the  art  of  the  past,  but  it  some- 
times seems  to  forget  that  details  which  are 
vital  to  the  archaeologist  may,  on  occasion, 
have  no  value  for  the  artist."  In  a  large 
measure  this  fact  seems  to  be  true  of  the  sort 
of  critical  interpretation  that  is  to  be  found  in 
the  majority  of  the  German  archaeological 
works.  There  are  some  notable  exceptions, 
as  the  works  of  Durm  and  Buhlmann  but, 
in  the  main,  the  books  produced  by  the 
Germans  that  are  useful  in  the  daily  study  of 
design  are  not  numerous.  On  the  contrary  in 
this  field  the  French  excel  and  it  is  preemi- 
nently their  domain.  They  have  a  clear 
grasp  of  essentials  and  a  sure  instinct  for 
selection;  an  ability  to  conceive  and  to  con- 

37 


struct,  through  the  power  of  the  creative 
imagination  working  in  space,  often  from  only 
a  few  remains,  a  brilliant  and  convincing 
restoration  that  will  speak  to  us  in  terms  of 
lofty  architecture;  all  this  embodied  in  terms 
of  lucid  statement  and  perfect  illustration. 
Their  works  far  outnumber  the  learned  trea- 
tises of  the  Renaissance  masters  to  which 
your  attention  has  already  been  directed. 

The  complete  architectural  library  of 
today  will  contain  all  sorts  of  sumptuous 
volumes  which  will  combine  methods  of 
printing  and  photogravure  not  even  imagined 
by  the  early  writers.  Then  it  was  a  slow, 
tedious  undertaking  to  engrave  every  plate 
by  hand  on  steel  or  copper,  whereas  now  the 
mechanical  processes  of  reproduction  have 
practically  done  away  with  the  laborious  ways 
of  handcraft.  The  real  bibliophile  may  regret 
this,  but  students  of  design  do  not.  The  use- 
fulness of  books  has  not  been  impaired  but 
greatly  extended.  It  is  true  that  there  is  a 
certain  satisfaction  resulting  from  the  con- 
templation of  an  engraved  plate  that  is  not 
afforded  by  a  photo-etching  or  reprint;  but 
that  satisfaction  should  be  reserved  for  those 
whose  preoccupation  is  with  books  for  their 
own  sake,  rather  than  for  what  they  may 
teach  us. 

Books  of  pictorial  illustration  abound, 
such  as  collections  of  large  photographs  of 

38 


individual  buildings,  like  the  chateaux  and 
cathedrals  of  France  and  the  palaces  of  Italy. 
Others,  perhaps  the  most  beautiful  and  in- 
spiring for  us,  are  the  collections  of  rendered 
restorations  made  by  the  pensioners  of  the 
French  Academy  in  Rome,  the  winners  of 
the  Grand  Prix.  These  comprise  the  collec- 
tions familiarly  known  as  d'Espouy,  and  such 
brilliant  monographs  as  Epidaure,  Pergame, 
Selinonte,  and  the  Parthenon.  Still  others  are 
the  folios  of  drawings  carefully  made  in  line 
of  certain  styles  and  periods  of  architecture, 
studies  representing  years  of  unremitting 
labor  and  painstaking  measurement,  like 
Letarouilly,  Durand,  and  Buhlmann.  Then 
we  have  those  much  dog-eared  folios  of 
designs  dear  to  the  eyes  of  our  own  students, 
produced  by  the  eleves  of  the  Ecole  des 
Beaux  Arts.  It  is  unnecessary  to  enlarge 
further  on  the  evident  fact  that  the  scope  of 
modern  works  depicting  architecture  and 
architectural  decoration  is  immense  and  that 
reproductions  are  innumerable. 

Among  all  the  noble  books  relating  to 
our  art  there  are  two  which  deserve  to  be 
placed  by  themselves.  These  are  Letarouilly, 
Les  Edifices  de  Rome  Moderne  and  Durand's 
Recueil  et  Parallele  des  Edifices  en  Tout  Genre, 
Anciens  et  Modernes.  A  companion  work  to 
Letarouilly's  is  Strack's  Baudenkmaler  Roms 
des  XV-XIX  Jahrhunderts,  a  folio  of  photo- 

39 


graphic  illustrations  of  the  same  subjects 
that  are  delineated  in  the  former  and  a 
valuable  supplement  to  it. 

For  inspiration  in  design  Letarouilly's  is 
assuredly  the  most  useful  and  beautiful  work 
ever  offered  either  to  student  or  practician. 
It  is  the  work  that  in  modern  practise  he 
would  most  frequently  have  occasion  to 
consult.  There  is  a  good  reprint  of  Les 
Edifices  de  Rome  Moderne,  the  plates  for 
which  were  reproduced  unfortunately  at  a 
smaller  scale  than  the  original.  Letarouilly's 
work  is  so  well  known  that  it  is  unnecessary 
to  describe  it  in  any  detail.  It  is  in  three  large 
folios,  published  in  1840;  the  dedication  is 
addressed  to  his  majesty  Louis  Philippe. 
There  is  also  a  volume  of  descriptive  text. 
At  the  beginning  of  the  first  volume  you  will 
find  that  inimitable  plan  of  the  "Eternal 
City"-— a  marvelous  expression  of  the  en- 
graver's art  and  an  instance  of  the  perfect 
expression  of  a  transcendent  subject.  Letar- 
ouilly  was  also  the  author  of  the  equally 
beautiful  monographs  on  St.  Peter's  and  the 
Vatican,  a  work  in  two  volumes. 

The  other  work  which  has  been  chosen  for 
special  commendation,  it  is  thought,  with  as 
good  reason  as  the  one  just  mentioned,  is  the 
grand  folio  of  Durand,  one  of  the  largest  in 
size  of  plates  of  any  in  the  library.  The  super- 
ficial dimensions  of  this  book  are  governed  by 

40 


the  fact  that  all  the  different  plans,  elevations, 
and  sections  throughout  the  work  are  drawn 
to  the  same  scale.  Moreover,  as  its  field  is 
the  whole  field  of  historic  architecture,  the 
dimensions  of  the  plates  are  more  or  less 
determined  by  the  largest  edifices  ever  con- 
structed, such  as  the  Circus  Maximus,  a  vast 
stadium  reputed  to  have  seated  some 
250,000  spectators.  When  we  consider  the 
immense  advantage  that  accrues  to  the  study 
of  design  from  having  all  the  important 
buildings  of  all  ages  of  architecture  drawn  to  a 
uniform  scale,  it  is  no  exaggeration  to  say 
that  if  instructors  in  architecture  were  so 
circumstanced  that  they  might  retain  only 
one  work  for  reference,  the  majority  would 
prefer  to  retain  this  one.  Durand,  who  was  a 
professor  in  I'Eco/e  Poly  technique^  first  pub- 
lished his  work  in  Paris  in  ANNO  IX  (1808).  It 
was  re-issued  at  a  later  date  in  an  augmented 
form  by  a  firm  of  editors  in  Liege.  Reprints 
are  also  obtainable.  In  addition  to  drawings 
of  constructed  edifices,  "Durand"  also  con- 
tains famous  projects  never  put  into  execu- 
tion and  many  plates  of  detail  and  of  other 
architectural  elements. 

The  chief  value  of  "Durand"  to  students 
of  design  is  not  the  study  of  architectural 
monuments  from  the  viewpoint  of  history, 
although  it  is  valuable  for  that  too,  but  the 
study  of  parti  from  the  view  point  of  composi- 

41 


tion.  Such  is  also  the  particular  value  of  the 
premiated  designs  in  the  competitions  for  the 
Grand  Prix  de  Rome  and  in  a  lesser  degree  of 
the  volumes  of  Croquis  and  Medailles.  The 
publication  of  Croquis  d'  Architecture  was  dis- 
continued about  1900  after  some  fifteen 
volumes  had  been  issued.  Some  instructors 
prefer  it  to  the  folios  of  Grand  Prix,  but  just 
at  this  juncture  it  does  not  appear  to  be  much 
favored  by  students. 

There  is  a  right  way  and  a  wrong  way  to 
use  these  books  for  study,  the  wrong  way  is  the 
slavish  copying  of  the  conceptions  of  others— 
a  habit  far  too  prevalent. 

As  an  example  of  what  may  be  considered 
a  useful  method  of  study,  let  us  examine  for 
a  moment  one  of  the  projects  in  Part  Two  of 
Grand  Prix,  the  fine  conception  of  M.  Chaus- 
semiche,  Un  Palais  des  Societes  Savantes. 
A  familiarity  with  the  principal  requirements 
of  the  program  is  first  essential;  there  will  not 
be  many.  The  problem  should  then  be 
thought  of  as  one  of  proportions  and  relations 
between  the  principal  elements  of  the  plan. 
Make  a  pencil  tracing  of  the  plan,  drawing 
first  the  principal  axes,  indicating  rooms 
simply  by  shaded  rectangles  and  leaving 
communications  white.  This  procedure  will 
fix  in  your  mind  the  essential  facts  of  the 
composition,-the  parti-,  and  the  proportions  of 
the  chief  elements,  and  the  relative  area 

42 


devoted  to  corridors,  light-courts,  halls,  and 
rooms.  Similar  tracings  may  be  made  of 
elevations  and  sections.  In  the  former  it  will 
usually  be  sufficient  to  indicate  broadly  the 
proportions  between  voids  and  solids  while 
in  the  latter  care  should  be  taken  for  the 
interior  silhouette.  Next  you  should  make  a 
study  of  poche  by  tracing  with  black  ink  cer- 
tain typical  parts  of  the  plan.  Finally,  for 
comparative  study,  trace  or  sketch  the  alter- 
nate schemes. 

Studies  such  as  have  been  indicated 
above  consume  only  a  minimum  of  time. 
By  forcing  you  to  analyze  they  serve  greatly 
to  extend  your  knowledge  of  the  large  facts 
of  plan  composition,  and  consequently  your 
ability  to  reason  in  terms  of  architecture 
and  to  solve  programmes  becomes  more  and 
more  competent.  Mere  aimless  tracing  of 
detail  from  books  is  of  little  value.  Have 
some  purpose  and  method.  Always  keep  in 
mind  the  broad  plan  of  your  course  in  design; 
first,  to  study  elements;  second,  to  combine 
elements,  to  compose;  third,  to  combine 
proportions,  to  design. 

It  would  appear  that  undue  emphasis 
had  been  placed  in  this  discussion  on  the 
literature  of  classicism  and  that  mediaeval 
architecture  had  been  inexcusably  neglected. 
This  might  be  taken  by  some  to  imply  a 
negation  of  the  importance  of  Gothic  archi- 

43 


tecture.  A  course  in  design  would  certainly  be 
incomplete  if  it  did  not  include  programmes 
outside  the  Classic  and  Renaissance  periods, 
and  for  the  solution  of  such  programmes  it  is 
essential  that  the  student  apply  himself  to 
the  documents.  But  there  are  several  reasons 
why  Gothic  cannot  and,  as  many  believe, 
ought  not  to  occupy  so  large  a  space  as 
Classic  and  Renaissance  in  our  thoughts  as 
students  of  design.  In  the  first  place  it  is 
almost  impossible  to  conceive  of  our  con- 
temporary life,  outside  of  our  religious  life, 
and  to  a  lesser  degree,  our  educational  life, 
being  lived  in  an  environment  of  Gothic 
architecture.  In  the  second  place,  although 
there  are  many  splendid  monographs  on 
Gothic  buildings,  the  literature  of  mediaeval 
architecture  is  by  no  means  so  extensive  or 
voluminous  as  that  of  the  Classic  and  analo- 
gous styles.  Without  entering  further  into 
the  merits  of  the  controversy  that  has  waged 
between  advocates  of  these  two  great  divi- 
sions of  architecture  as  they  affect  the  study 
of  design  in  the  schools,  I  shall  quote  from 
Professor  Blomfield's  lecture  on  Rome,  which 
seems  to  express  a  rational  view  of  the  matter. 
"We  might,"  he  says,  "by  a  process  of  mental 
abstraction,  imagine  ourselves  back  in  mediae- 
val life,  and  by  a  sustained  effort  of  mental 
histrionics,  express  ourselves  in  terms  of 
mediaeval  art.  But  the  natural  man,  the 

44 


actual  conditions  of  life,  will  surely  reassert 
themselves.  We  shall  only  feel  at  home  in 
the  broad  spaces  and  serener  atmosphere  of 
classic  art.  I  do  not  say  that  Roman  archi- 
tecture was  perfect  and  impeccable.  That 
architecture  had  its  faults.  It  had  lost  the 
sensitive  refinement  of  Greek  art;  it  was  given 
to  accepting  the  details  of  architecture  without 
much  thought,  possibly  even  with  contemp- 
tuous indifference  to  minute  refinements  of 
form.  But  where  it  is  forever  memorable  is  in 
the  splendid  courage  of  its  construction,  in 
its  capacity  for  ordered  thought  dealing  with 
vast  conceptions.  It  is  because  of  its  superb 
resource,  of  its  masterful  method  of  conquer- 
ing any  and  every  problem  set  it,  that  Roman 
architecture  remains  the  greatest  and  most 
profitable  study  for  the  serious  architect." 
Among  works  treating  of  Gothic  archi- 
tecture which  are  especially  useful  for  the 
study  of  design,  may  be  mentioned:  Viollet-le- 
Duc's  Dictionnaire  raisonne  de  T  architecture  ^ 
a  justly  celebrated  work  embodying  the 
results  of  profound  research;  C.  H.  Moore's 
Gothic  Architecture  and  the  second  volume  of 
Simpson's  History  oj  ArchitecturalDevelopment^ 
both  emphasizing  the  details  of  structure; 
and  Pugin's  Gothic  Architecture^  a  three- 
volume  work  containing  details.  Another 
work  especially  good  for  the  study  of  details 
is  An  Analysis  of  Gothic  Architecture  by  R. 

45 


A  MEDIAEVAL  WAR  ENGINE,  AFTER  VIOLLET-LEDUO 


and  J.  A.  Brandon.  Two  very  modern  books 
on  the  style  are  F.  Bond's  Gothic  Architecture 
in  England  and  English  Church  Architecture^ 
up-to-date  pieces  of  scholarship  which  are 
regarded  by  authorities  as  being  probably 
the  most  valuable  works  on  English  church 
architecture.  Church  Building  by  Ralph 
Adams  Cram  explains  many  things  about 
church  planning  not  generally  understood. 
Finally  I  shall  mention  the  third  part  of 
Guadet's  Elements  et  Theorie  de  r Architec- 
ture, which  treats  in  an  exhaustive  fashion  the 
whole  subject  of  Catholic  churches. 

Guadet's  work  on  the  theory  of  archi- 
tecture stands  by  itself.  Perhaps  it  may  be  of 
more  value  to  the  instructor  than  to  the 
average  student,  but  no  one  could  study  this 
work  carefully  without  gaining  immensely 
thereby.  Treatises  have  been  written  in  other 
languages  on  the  general  theory  of  architec- 
tural aesthetics  by  thoughtful  teachers,  nota- 
bly the  discourses  of  Thiersch,  Wagner,  and 
others  in  the  German  Handbuch  series,  but 
none  of  them  approaches  Guadet  in  rationali- 
ty of  method  and  in  clarity  of  statement. 
Guadet  bases  his  theory  of  proportions  in 
architecture  on  construction,  whereas  the 
German  writers  incline  toward  recondite  analo- 
gies discoverable  in  human  and  other  organ- 
isms, and  such  geometrical  analogies  as  are 
found  in  the  similarity  of  rectangles.  One 

47 


cannot  study  Guadet  without  being  pro- 
foundly influenced  by  his  teachings,  whereas 
the  German  theorists  do  not  inspire  the  same 
degree  of  conviction. 

Two  very  fine  and  useful  works  are 
Biihlmann,  Die  Architectur  des  Classischen 
/lltertums  und  der  Renaissance^  and  Gromort, 
Elements  d*  Architecture  Classique.  The  former 
is  obtainable  in  a  good,  translated  reprint, 
and  the  latter  in  an  inexpensive  folio.  For 
beginners  there  is  perhaps  no  more  useful 
work  than  Gromort's;  the  plates  of  which 
show  a  close  correspondence  with  the  exam- 
ples cited  by  Guadet.  Biihlmann's  work  is 
equally  valuable;  the  fact  that  it  is  one  of  the 
most  used  folios  in  the  library  speaks  for 
itself. 

Of  contemporary  publications  it  is  deserv- 
edly fitting  that  special  mention  be  made  of 
the  Monograph  of  the  Work  of  McKimy 
Mead  and  White.  The  uniformly  high  char- 
acter of  the  work  of  this  firm  places  it  on  an 
equal  footing  with  much  of  the  best  work  of 
the  Italian  Renaissance  architects.  Of  McKim 
himself  it  has  been  often  said  that  he  was  the 
greatest  English  speaking  architect  since  Sir 
Christopher  Wren. 

The  reading  of  books  for  inspiration  in 
design  is  a  comprehensive  undertaking.  The 
intention  of  this  paper  has  been  to  adhere  in 
the  main  to  reference  works,  since  your  study 

48 


of  design  is  so  largely  one  of  research  among 
books.  But  there  is  also  another  purpose  which 
is  to  stimulate  you  to  form  the  habit  of  read- 
ing the  best  books  dealing  with  our  art, 
whether  they  be  philosophical,  romantic,  or 
descriptive.  With  this  end  in  view  the  follow- 
ing books  will  be  found  highly  interesting 
and  suggestive. 

A  work  to  which  great  admiration  should 
be  accorded  is  Hippolyte  Adolphe  Taine's 
Lectures  on  Art  (translated  by  J.  Durand) 
consisting  of  a  course  of  lectures  delivered 
before  the  students  of  art  of  the  Ecole  des 
Beaux  Arts,  Paris,  during  the  winter  of  1864. 
This  book  is  an  accomplishment  of  the  highest 
order  of  genius — the  thought  being  clothed  in 
the  most  finished  and  artistic  style.  The 
style  of  Ruskin  is  regarded  in  the  field  of 
letters  as  being  particularly  distinguished, 
but,  to  my  mind,  it  does  not  surpass  that  of 
Taine;  besides  the  aesthetic  opinions  of  the 
former  critic  have  many  of  them  fallen  into 
disrepute.  Nevertheless,  read  Modern  Painters, 
Stones  of  Venice^  and  Seven  Lamps  of  Archi- 
tecture. Taine  applies  to  the  arts  the  same 
theory  he  has  applied  to  literature  in  his 
Histoire  de  la  Literature  Anglaise;  that  is,  he 
explains  art  by  social  influences:  humanity 
at  different  times  and  places,  climate  and 
other  conditions,  furnishing  the  facts  on 
which  the  theory  rests.  You  would  also  be 

49 


delighted  with  his  Voyage  en  Italic.  Theo- 
phile  Gautier  was  another  elegant  writer,  who> 
while  not  dealing  specially  with  aesthetics, 
had  an  uncommon  knowledge  and  apprecia- 
tion of  architecture.  This  is  especially  evident 
in  his  Romance  of  a  Mummy,  Constantinople p, 
and  A  Winter  in  Russia.  Read  also  The 
Alhambra,  by  Washington  Irving. 

The  vain-glory  and  outrageous  effrontery 
of  one  of  the  world's  greatest  artists  has  been 
admirably  recorded  by  himself  in  a  most 
remarkable  recital  of  personal  experience: 
The  Autobiography  of  Benevenuto  Cellini. 
Read  that  and  also  Vasari's  Lives  of  the  Most 
Eminent  Painters,  Sculptors,  and  Architects. 

Special  mention  should  be  made  of  the 
literary  work  of  Dr.  Nathan  Clifford  Ricker 
in  relation  to  the  library.  Dr.Ricker's  contri- 
butions to  the  literature  of  architecture  have 
been  as  solid  and  useful  as  they  have  been 
varied  in  character.  In  this  connection  we 
can  do  no  more  than  note  in  passing  such  of 
his  work  as  partakes  of  the  nature  of  research, 
compilation,  or  critical  interpretation.  It 
is  to  his  translations  that  your  particular 
attention  is  called;  our  library  has  been  made 
by  him  the  repository  of  his  valuable  manu- 
scripts. Until  such  time  as  they  may  be  given 
to  the  publisher,  you  enjoy  the  unique  priv- 
ilege of  being  free  to  consult  in  your  mother- 
tongue  some  of  the  greatest  works  of  the 

50 


French  and  German  teachers.  A  list  of  the 
books  which  Dr.  Ricker  has  selected  for 
rendering  into  English  is  given  subsequently. 
That  these  works  carry  with  them  the  highest 
authority  is  a  fact  that  will  become  apparent 
the  more  you  read  and  study  them. 

In  the  preceding  pages  the  writer  has 
sought  to  emphasize  as  forcibly  as  possible 
what  seems  undeniably  true,  that  books  on 
art  exist  primarily  for  what  they  may  teach. 
At  least  that  is  their  relation  to  us.  What 
we  may  learn  from  them  is,  on  our  part,  our 
chief  interest.  Furthermore,  our  desire  to 
understand  what  these  books  may  interpret 
to  us  about  the  art  of  the  past  is  only  signi- 
ficant in  the  sense  that  the  art  of  the  present 
may  be  vivified  and  a  reasonable  develop- 
ment of  the  art  of  the  future  assured.  A  book 
may  be  immensely  interesting  in  itself  just 
as  drawings  are  immensely  interesting  in 
themselves,  and  it  is  very  easy  to  drift  into 
the  pleasurable  belief  that  neither  exists  for 
anything  except  for  the  satisfaction  of  con- 
templation and  possession.  Never  forget 
that  you  are  studying  to  become  architects 
and  that  books  and  drawings  are  only  an 
important  means  to  an  end,  the  acquisition 
of  power  in  design.  Next  to  the  study  of 
great  buildings,  the  study  of  great  books 
about  them  is  the  most  valuable  stimulant 
to  the  creative  faculty  for  the  student  of 

51 


architecture.  In  the  words  of  Sir  Joshua 
Reynolds,  "The  habit  of  contemplating  and 
brooding  over  the  ideas  of  great  geniuses 
till  you  find  yourself  warmed  by  the  contact, 
is  the  sure  method  of  an  artist-like  mind." 


52 


CHAPTER  IV 

A  LIST  OF  GENERAL  WORKS  ON  ARCHI- 
TECTURE SELECTED  FROM  THE  CATALOGUE 
OF  THE  RICKER  LIBRARY  IN  THE  UNIVER- 
SITY OF  ILLINOIS:  Recommended  to  Students 
of  Architecture. 

CLASSIFICATION  OF  SUBJECTS 

For  a  more  detailed  classification  see 

Appendix  B. 

1.  Biography. 

2.  History  including  Dictionaries  and   En- 
cyclopedias. 

3.  Theory. 

4.  Periodicals. 

5.  Periods  and  Styles,  Classic,  Mediaeval, 
Renaissance,  Modern. 

6.  Travel  and  Description — Europe,  Ameri- 
ca. 

7.  Decoration,    Painting    and    Sculpture- 
Histories  of  Art. 

8.  City  Planning  and  Landscape  Architec- 
ture.   An  important  special  collection  in 
city    planning    and    landscape    architec- 
ture may  be  found  in  the  library  of   the 
Department  of  Landscape  Design. 

9.  Competitions. 

10.    Dr.  Ricker's  Translations. 

53 


I.   BIOGRAPHY 

1 .  Brault,  Elie.  LES  ARCHITECTES  PAR  LEURS 
OEUVRES.   Paris  (1893.)  3  vol. 

2.  Cellini,    Benevenuto,    AUTOBIOGRAPHY    OF 
Tr.  by  J.  A.  Symonds.  New  York.  (c!906)  2  vol. 

3.  Chancellor,  E.  B.       LIVES  OF  THE  BRITISH 
ARCHITECTS.     London.     1909. 

4.  Quatremere  de  Quincy,  A.  C.     HISTOIRE  DE 
LA  VIE  ET  DES  OUVRAGES  DES  PLUS  CE- 
LEB RES  ARCHITECTES.     Paris.     1830.2vol. 

5.  Rolland,  R.  MICHELANGELO,  tr.  by  Frederick 
Street.  New  York.     1915. 

6.  Samuel  A.  PIRANESI.     London.     1910. 

7.  Swarbrick,    J.     ROBERT    ADAM     AND    HIS 
BROTHERS.     London.     1915. 

8.  Vasari,  G.     LIVES  OF  THE  MOST  EMINENT 
PAINTERS,     SCULPTORS,     AND     ARCHI- 
TECTS.    Tr.  by  Gaston  Du  C.  de  Vere.  London. 
1912-15.     10  vol. 


II.   HISTORY 

Including  Dictionaries  and  Encyclopedias 

The  Classical  Library  has  many  books  dealing 
with  excavations  and  explorations  in  ancient  lands, 
chiefly  archaeological  in  character,  a  good  many  of 
which  have  a  near  relation  to  the  architecture  of 
antiquity. 

For  fuller  lists  of  the  most  useful  works  relating 
to  the  history  of  architecture,  reference  may  be  had 
to  the  bibliographical  notes  in  such  books  as  Kimball 
and  Edgell's  History  of  Architecture,  Hamlin's  History 
of  Architecture,  and  Fletcher  and  Fletcher's  Comparative 
History  of  Architecture. 

1.  Anderson,  W.  J.     ARCHITECTURE  OF  THE 
RENAISSANCE  IN  ITALY.    4th  ed.    London. 
1909. 

2.  Anderson,   W.   J.    and   Spiers,  R.    P.      ARCHI- 
TECTURE OF  GREECE  AND  ROME.  2nd  ed. 

London.     1907. 

3.  Benoit,  F.    L'ARCHITECTURE  ANTIQUITE. 
Paris.       1911-12     2  vol.  printed. 

4.  Benoit,  F.     L'ARCHITECTURE  L'ORIENT. 

5.  Blomfield,  R.  T.  HISTORY  OF  RENAISSANCE 
ARCHITECTURE  IN  ENGLAND.      London. 
1897.     2  vol. 

6.  Bond,     F.     GOTHIC    ARCHITECTURE     IN 
ENGLAND.    London.    1906. 

7.  Bond,  F.  AN  INTRODUCTION  TO  ENGLISH 
CHURCH    ARCHITECTURE    FROM    THE 
11TH  TO  THE  16TH  CENTURIES.    London. 
1913.     2  vol. 

55 


8.  Byne,  A.  and  Stapley,  M.     SPANISH  ARCHI- 
TECTURE OF  THE  16TH  CENTURY.    New 
York.    1917. 

9.  Choisy,  F.  A.    HISTOIRE  DE  L'ARCHITEC- 
TURE.     Paris.   1899.2vol. 

10.  DurmJ.  DIE  BAUKUNST  DER  GRIECHEN. 

(Handbuch  der  Architektur.)     var.  dates. 

11.  Diirm,  J.  DIE  BAUKUNST  DER  ETRUSKEN 
UND   ROMER. 

12.  Diirm,  J.     DIE  BAUKUNST  DER  RENAIS- 
SANCE IN  ITALIEN. 

13.  Fletcher,  B.  and  Fletcher  B.  F.    HISTORY  OF 
ARCHITECTURE  ON  THE  COMPARATIVE 
METHOD.    5th  ed.    London.     1905. 

14.  Geymiiller,  H.   von.     DIE   BAUKUNST   DER 
RENAISSANCE  IN  FRANKREICH.     (Hand- 
buch   der    Architektur)  Stuttgart.    1901.  2    vol. 

15.  Gromort,     G.     L 'ARCHITECTURE     DE    LA 
RENAISSANCE    EN    ITALIE.     Paris.     1913. 

16.  Hamlin,  A.  D.  F.     HISTORY  OF  ARCHITEC- 
TURE.    New  York.  1909. 

17.  Tackson,   T.    G.     GOTHIC   ARCHITECTURE 
IN  FRANCE,  ENGLAND,  AND  ITALY.    Cam- 
bridge.    1915.     2  vol. 

18.  Jackson,  T.  G.     BYZANTINE  AND  ROMAN- 
ESQUE ARCHITECTURE.     Cambridge.    1913. 
2vol. 

19.  Kimball,  F.  and  Edgell,  G.  H.     HISTORY  OF 
ARCHITECTURE.     New  York.     1918. 

20.  Marquand,     A.     GREEK    ARCHITECTURE. 
New  York.     1909. 

56 


21.  Moore,  C.  H.     DEVELOPMENT  AND  CHAR- 
ACTER   OF     GOTHIC      ARCHITECTURE. 

New  York.     1899. 

22.  Planat,      P.      (Ed.)     ENCYCLOPEDIE      DE 
L 'ARCHITECTURE  ET  DE  LA  CONSTRUC- 
TION.    Paris.     No  date.     6vol. 

23.  Porter,  A.  K.     LOMBARD  ARCHITECTURE. 
New  Haven.     1915-17. 

24.  Porter,    A.     K.     MEDIAEVAL    ARCHITEC- 
TURE.    New  York.     1909. 

25.  Reber,    F.    von.     HISTORY    OF    ANCIENT 

ART.     New  York.     1882. 

26.  Simpson,     F.     M.     HISTORY     OF     ARCHI- 
TECTURAL DEVELOPMENT.    3  vol. 

27.  Statham,  H.  H.     A  SHORT  CRITICAL  HIS- 
TORY OF  ARCHITECTURE.     London.(1912) 

28.  Sturgis,  R.  and  Frothingham,  A.  L.     HISTORY 
OF  ARCHITECTURE.  New  York.  1916.  4vol. 

29.  Viollet-le-Duc,     E.       DICTIONNAIRE     RAI- 
SONNE     DE     L 'ARCHITECTURE     FRAN- 
£AISE.     Paris.     1834-68.     10vol. 

30.  Ward,  W.  H.     ARCHITECTURE     OF     THE 
RENAISSANCE  IN  FRANCE.  London.  (1911), 
2vol. 


III.     THEORY 

1.  Belcher,    J.     ESSENTIALS    IN    ARCHITEC- 
TURE.    London.     1907 

2.  Blomfield,     R.     T.     THE     MISTRESS    ART. 

London.     1(X)8. 


57 


3.  Esquie,  P.    THE  FIVE  ORDERS  OF  ARCHI- 
TECTURE.    (French  Vignola)  Boston.  (1910) 

4.  Gibbs,  J.     BOOK      OF        ARCHITECTURE. 

Containing  designs  of  buildings  and  ornaments. 
London.     1728.    Reprint. 

5.  Gromort,    G.     CHOIX    D 'ELEMENTS    EM- 
PRUNTES  L'ARCHITECTURE  CLASSIQUE. 

Paris.     1907. 

6.  Gromort,    F.      CHOIX       DE       PLANS      JJE 
GRANDES    COMPOSITIONS    EXECUTEES 
Paris.     1910 

7.  Guadet,  J.     ELEMENTS   ET  THEORIE   DE 
L'ARCHITECTURE.     Paris.  (1902.)  4  vol. 

8.  Jackson,    T.    G.     REASON    IN    ARCHITEC- 
TURE.    London.     1906. 

9.  Laureys,   F.     KURSUS   DER   KLASSISCHEN 
BAUKUNST     DIE     FUNF      ORDNUNGEN. 

Berlin.     No  date. 

10.  Mauch,    J.     M.     von.     DIE    ARCHITEKTO- 
NISCHEN  ORDNUNGEN  DER  GRIECHEN 
UNO    ROMER.      Berlin.     No  date. 

11.  Mayeux,   H.     LA      COMPOSITION      DECO- 
RATIVE.    Paris.     No  date. 

12.  Poore,  H.  R.     PICTORIAL     COMPOSITION. 
New  York.     1914. 

13.  Reynaud,    F.    L.     TRAITE       D 'ARCHITEC- 
TURE.    Paris.     1850.     4  vol. 

14.  Ruskin,  J.     MODERN  PAINTERS. 

15.  Ruskin,   J.      SEVEN    LAMPS    OF    ARCHI- 
TECTURE. 

58 


16.  Ruskin,    J.     STONES    OF    VENICE.     3    vol. 

17.  Spiers,   R.     P.      ORDERS    OF    ARCHITEC- 
TURE.    London.     1902. 

18.  Sturgis,   R.    HOW  TO  JUDGE  ARCHITEC- 
TURE.    New  York.     1903. 

19.  Taine,   H.    A.     LECTURES    ON    ART.     New 

York.     1875.     Translated    by   John    Durand. 

20.  Van  Pelt,  J.  V.     A  DISCUSSION  OF  COMPO- 
SITION,   ESPECIALLY    AS    APPLIED    TO 
ARCHITECTURE.     New  York.     1902. 

21.  Viollet-le-Duc,  E.     LECTURES    ON    ARCHI- 
TECTURE,   London.     1877-8.    2  vol.      Trans- 
lated by  Benjamin  Bucknall. 

IV.     PERIODICALS 

1.  ACADEMY       ARCHITECTURE.     London. 
Annual 

2.  AMERICAN  ARCHITECT. 

3.  ARCHITECTS'  JOURNAL     AND      ARCHI- 
TECTURAL ENGINEER.     London. 

4.  ARCHITECTURE. 

5.  ARCHITECTURAL  FORUM. 

6.  ARCHITECTURAL  RECORD. 

7.  ARCHITECTURAL     REVIEW.     New     York. 

8.  ARCHITECTURAL  REVIEW.     London. 

9.  COLOUR.     London. 

10.  CONSTRUCTION.     Toronto. 

11.  CONSTRUCTION  MODERNE.     Paris. 

12.  DEKORATIVE    VORBILDER.    Discontinued. 

13.  DEUTSCHE   KUNST  UND   DEKORATION. 
Darmstadt. 

14.  GOOD  FURNITURE. 

59 


15.  HOUSE  AND  GARDEN. 

16.  HOUSE  BEAUTIFUL. 

17.  INTERNATIONAL  STUDIO. 

18.  JOURNAL    OF    THE    AMERICAN    INSTI- 
TUTE OF  ARCHITECTS. 

19.  JOURNAL    OF    THE    ROYAL    INSTITUTE 
OF        BRITISH        ARCHITECTS.     London. 

20.  MODERNE  BAUFORMEN.     Stuttgart. 

21.  STUDIO  YEAR  BOOK.     Annual. 

22.  WESTERN  ARCHITECT. 

23.  Cram,    R.    A.     CHURCH      BUILDING.     2nd 
ed.     Boston.     1914. 

V.     PERIODS  AND  STYLES 

This  list  includes  principally  atlases  of  drawings 
or  photographs.  Some  works  have  a  descriptive  text 
which  may  not  be  specifically  mentioned. 

GENERAL 

1.  Buhlmann,   J.     DIE     ARCHITEKTUR     DES 
CLASSISCHEN    ALTERTUMS    UND    DER 
RENAISSANCE.     Stuttgart.     1893. 

2.  d'Espouy,  H.     FRAGMENTS    D 'ARCHITEC- 
TURE    DU     MOYEN    AGE     ET     DE     LA 
RENAISSANCE.     Paris.     No  date. 

3.  Gailhabaud,    J.     MONUMENTS       ANCIENS 
ET      MODERNES.     Paris.      1850.      4    vol. 

4.  Junghandel,  M.   and  Gurlitt,   C.     DIE      BAU- 
KUNST      SPANIENS.     Dresden.     (1889-98.) 
2vol. 

5.  Macartney,  M.  E.     PRACTICAL  EXEMPLAR 
OF        ARCHITECTURE.     Westminister.     No 
date.     5  vol.     Reprint. 

60 


6.  Ongania,  F.     STREETS    AND    CANALS    IN 
VENICE.     Photo-engravings.     Venice.     1894. 

7.  PROUT'S       SKETCHES.     Reprinted    by    The 
Architect.     1892. 

8.  Strack,       H.        ZIEGELBAUWERKE       DES 
MITTELALTERS      UND      DER      RENAIS- 
SANCE   IN    ITALIEN.     Berlin.     1889. 


ANTIQUE  AND  CLASSIC 

9.     Canina,     L.     GLI      EDIEIZJ        DI        ROMA 
ANTICA.     Rome.     1848-56.     4  vol.  in  3. 

10.  Collignon,  L.  M.     LE     PARTHENON.     Paris. 
(1912.)     2  vol. 

11.  Curtius,  E.  and  Adler,  F.     OLYMPIA.     Berlin. 
1890-97.     8  vol. 

12.  Defrasse,    A.     and    Lechat,    H.     EPIDAURE. 
Paris.     1895. 

13.  d'Espouy,  H.     FRAGMENTS    D'ARCHITEC- 
TURE  ANTIQUE.     Paris.     1905.    2  vol. 

14.  d'Espouy,   H.     MONUMENTS      ANTIQUES. 
Paris.     No  date.     3  vol. 

15.  Hulot,    J.     and     Fougeres,    G.     SELINONTE. 
Paris.     1910. 

16.  Laloux,   V.,    and   Monceaux,   P.     RESTAURA- 
TION  D'OLYMPIE.     Paris.     1889. 

17.  Place,  V.     NINIVE    ET    L'ASSYRIE.     Paris. 
1867.     2  vol.     Atlas. 

18.  Pontremoli,  E.  and  Collingnon,  M.     PERGAME. 
Paris.     1900. 

61 


ROMANESQUE 

19.  Martin,   C.     L'ART   ROMAN   EN   FRANCE. 
Paris.     1910.     3  vol. 

20.  Martin,    C.     L'ART    ROMAN    EN    ITALIE. 
Paris.     1912. 

21.  Revoil,  H.  A.     ARCHITECTURE     ROMANE 
DU    MIDI    DE   LA    FRANCE.     Paris.     1873. 
3vol. 


GOTHIC 

22.  Brandon,  R.  and  J.  A.     AN    ANALYSIS     OF 
GOTHICK  ARCHITECTURE.    London.    1858. 
2vol. 

23.  Baudot,,  A.  de  and  Perrault-Dabot,  A.  de.     LES 
CATHEDRALES        DE        FRANCE.     Paris. 
(1905-07).     2vol. 

24.  Martin,  C.  L'ART  GOTHIQUE  EN  FRANCE. 
Paris.     (1911.) 

25.  Pennell,  E.  and  J.     FRENCH    CATHEDRALS. 
New  York.     1909. 

26.  Pugin,   A.    C.     EXAMPLES      OF      GOTHIC 
ARCHITECTURE.      London.       1821.      3  vol. 
(Reprint— Cleveland.    1919.) 

27.  Van  Rensellaer,  M.,  and  Pennell,  J.     ENGLISH 
CATHEDRALS.     New  York.     1896. 

RENAISSANCE 

28.  L' ARCHITECTURE  ET  LA  DECORATION 
AUX     PALAIS     DU     LOUVRE     ET     DES 
TUILERIES.      Photo-engravings.      Paris.      No 
date.     2  vol. 

62 


29.  Biagi,  G.     LA    RENAISSANCE    EN    ITALIE. 

Paris.     (1913.) 

30.  Birch,   C.   H.     LONDON      CHURCHES      OF 
THE      17TH      AND      18TH      CENTURIES. 

London.     1896. 

31.  Blondel,  J.  F.     REIMPRESSION  DE     L 'AR- 
CHITECTURE FRANCAISE.      Paris.      1752- 
56.     4  vol. 

32.  Briere,  G.     LE   CHATEAU  DE  VERSAILLES. 

Paris.     1907.     2  vol.  in  4. 

33.  Briere,  G.     LE     PARC     DE     VERSAILLES. 
Paris.     (1909).     1  vol.  in  2. 

34.  Cram,    R.    A.     FARM      HOUSES,      MANOR 
HOUSES,  MINOR  CHATEAUX,  AND  SMALL 
CHURCHES  IN  NORMANDY  AND   BRIT- 
TANY.    New  York.     (1917.) 

35.  Daly,  Cesar.     MOTIFS  HISTORIQUES.  Paris. 
1870-80.    4  vol. 

36.  Dimier,   L.     FONTAINEBLEAU.     Paris.      No 
date.     2  vol. 

37.  Garner,  T.,  and  Stratton,  A.     THE  DOMESTIC 
ARCHITECTURE  OF  ENGLAND  DURING 
THE      TUDOR      PERIOD.     London.  (1911.) 
2  vol. 

38.  Gotch,  J.  A.     ARCHITECTURE     OF     THE 
RENAISSANCE      IN     ENGLAND.     London. 
1894.     2  vol. 

39.  Haupt,  A.     PALAST    ARCHITEKTUR    VON 
OBER    ITALIEN    UND    TOSCANA.     Berlin 
1911.     3vol. 

40.  Letarouilly,    P.    M.     LES       EDIFICES       DE 
ROME     MODERNE.     Paris.     1868-74.  3  vol. 

63 


41.  Letarouilly,     P.     M.     LE   VATICAN.      Paris. 
1882.     3  vol. 

42.  Lowell,  G.     SMALLER     ITALIAN     VILLAS 
AND       FARMHOUSES.     New  York.     1916. 

43.  Nash,  J.     MANSIONS     OF     ENGLAND     IN 
THE     OLDEN     TIME.     London.  1869.  4  vol. 

44.  Percier,     C.     and    Fontaine,    P.F.L.     PALAIS, 
MAISONS,.. A    ROME.     Paris.     1809 

45.  Prentice,    A.    N.     RENAISSANCE       ARCHI- 
TECTURE  AND   ORNAMENT   IN   SPAIN. 

London.     (1893.) 

46.  Rouyer,  E.  and  Darcel,  A.     L'ART     ARCHI- 
TECTURAL   EN    FRANCE  DEPUIS  FRAN- 
gOIS     Ier     JUSQU'A    LOUIS       XIV.     Paris. 
1863-66.     2  vol. 

47.  Sauvageot,    C.        PALAIS,  CHATEAUX, 
HOTELS,    ET  MAISONS   DE  FRANCE   DU 
XVe  AU  XVIIP  SIF.CLE.    Paris.     1867.   3  vol. 

48.  Schiitz,  A.  von.     DIE     RENAISSANCE     IN 
ITALIEN.     Hamburg.     1882.     4vol. 

49.  Strack,     H.      BAUDENKMAELER       ROMS 
DES       XV-XIX      JAHRHUNDERTS...ALS 
ERGANZUNG   ZU  LETAROUILLY,  "EDIFI- 
CES  DE   ROME  MODERNE."^  Berlin.  1891. 

50.  Uhde,  C.     BAUDENKMAELER     IN     SPAN- 
IEN   UND    PORTUGAL.   Berlin.     1892.  2vol. 

51.  Vitry,  P.     HOTELS    ET    MAISONS    DE    LA 
RENAISSANCE       FRAN£AIS . . .  DES       XV 
&  XVIe  SIECLES.     Paris.      No  date.     vol.  2e. 

64 


COLONIAL 

52.  Benjamin,  Asher.     THE    COUNTRY    BUILD- 
ER'S   ASSISTANT.     Reprint.  -Ed.  by  Aymar 
Embury  II.     New  York.     1917. 

53.  Crane,  E.  A.  and  Soderholtz,  E.  E.     COLONIAL 
ARCHITECTURE    IN    SOUTH    CAROLINA 
AND  GEORGIA.     Boston.     1895. 

54.  Embury,  A.     EARLY  AMERICAN  CHURCH- 
ES.    Garden  city,  New  York.     1914. 

55.  Newcomb,  R.   THE   FRANCISCAN  MISSION 
ARCHITECTURE  OF  ALTA  CALIFORNIA. 

New  York,     1916. 

56.  Ware,  W.  R.  (Ed.)     THE    GEORGIAN    PER- 
IOD.    Photographs    and    Measured    Drawings. 
Boston.     1899-1902.     3  vol. 

57.  Wise,  H.  C.  and  Beidelman,  H.  F.     COLONIAL 
ARCHITECTURE     FOR     THOSE     ABOUT 
TO  BUILD.     Philadelphia.     1913. 

MODERN 

58.  Lutyens,    E.     HOUSES       AND       GARDENS. 

London.     1913. 

59.  McKim,  Mead,  and  White,  Work  of.    New  York 
1913.     4  vol. 

60.  Platt,  Charles,     The  work  of.    New  York,  1913. 

VI.     TRAVEL  AND  DESCRIPTION 

Only  a  few  titles  selected  from  the  Ricker  Library 
of  Architecture  are  listed  here.  The  General  Library 
of  the  University  contains  many  additional  books  of  a 
similar  character. 

65 


1.  Adams,  H.       MONT-SAINT-MICHEL    AND 
CHARTRES.     Boston.     1913. 

2.  Frothingham,    A.    D.       ROMAN    CITIES     IN 
ITALY  AND   DALMATIA.     New  York.  1910. 

3.  Gautier,  T.     A   WINTER    IN    RUSSIA. 

4.  Gautier,  T.     CONSTANTINOPLE. 

5.  Gautier,  T.     THE  ROMANCE  OF  A  MUMMY. 

6.  Headlam,    C.     OXFORD    AND    ITS    STORY. 

New  York.     1904. 

7.  Howe,   M.   A.   de   W.     BOSTON.     New   York. 
1903. 

8.  Irving,  W.     THE  ALHAMBRA. 

9.  King,  Grace.       NEW  ORLEANS.       New  York. 
1917. 

10.     Maspero,  Sir  G.C.C.     THE  DAWN  OF  CIVIL- 
IZATION. Tr.  by  M.L.  McClune.  London.  1910. 

tl.     Mau,   A.     POMPEII.  ITS    LIFE   AND   ART. 

Tr.  by  F.  W.  Kelsey.     New  York.     1899. 

12.  Michaelis,   A.   T.    F.     A   CENTURY  OF  AR 
CHAELOGICAL    DISCOVERIES.     New  York. 
1908. 

13.  Pennell,  J.  and  E.  R.     OUR   PHILADELPHIA. 

Philadelphia.     1914. 

14.  Ravenel,  H.  H.     CHARLESTON.     New  York. 
1912. 

15.  Schliemann,  H.     TROY  AND  ITS  REMAINS. 

Tr.  by  L.  Dora  Schmitz.     London.     1875. 

16.  Stubbs,    C.    W.     CAMBRIDGE       AND    ITS 
STORY.     London.     1903. 

66 


17.  Vitu,  A.     PARIS.     Paris.     No  date. 

18.  Wilson,  R.  R.     NEW  YORK:  OLD  AND  NEW. 

Philadelphia.    '1902. 


VII.     DECORATION,  PAINTING  AND 
SCULPTURE.— HISTORIES  OF  ART 

The  collection  of  books  in  the  General  Library  on  the 
general  subjects  of  fine  and  decorative  arts,  selected 
primarily  by  the  Department  of  Art  and  Design,  are 
available  for  supplementary  study. 

1.  Ars   Una   Series,     ART  IN  FRANCE. 
Hourticq,  L.     New  York.     1911. 

2.  Ars   Una  Series,  ART  IN  GREAT   BRITAIN 
AND    IRELAND.     Armstrong,    Sir    W.     New 
York.     1913. 

3.  Ars     Una     Series,     ART     IN     NORTHERN 
ITALY.     Ricci,   C.     New  York.     1911. 

4.  Baldry,  A.  L.     MODERN     MURAL     DECO- 
RATION.    London.     1902. 

5.  Clarac,   Comte,   F.   de.,   MUSEE   DE   SCULP- 
TURE.    Paris.     1826-53.     12vol. 

6.  Cox,    Kenyon,     THE    CLASSIC    POINT    OF 
VIEW.     New  York.     1912. 

7.  Hamlin,  A.   D.   F.     A  HISTORY  OF  ORNA- 
MENT.    New  York.     1916. 

8.  Harrison,     Birge,     LANDSCAPE    PAINTING. 
New  York.     1917. 

9.  Hittorff,  J.  I.     RESTITUTION  DU  TEMPLE 
D'    EMPEDOCEE   A   SELINONTE,.  .  .  Paris. 

1851.     2vol. 

67 


10.  Holme,  C.     MODERN     PEN      DRAWINGS; 
EUROPEAN  AND  AMERICAN.     New  York. 
1901. 

11.  Holt,  R.  B.     RUGS,  ORIENTAL  AND  OCCI- 
DENTAL.    Chicago.     1901. 

12.  Jones,  Owen.     GRAMMAR  OF  ORNAMENT. 

London.     1856. 

13.  Liibke,  W.     HISTORY    OF    ART.     Edited  by 
Russel  Sturgis.     New  York.     1904.     2  vol. 

14.  Mayeux,     H.      FANTAISIES        ARCHITEC- 
TURALES.     Paris.     No  date. 

15.  Meyer,  F.  S.     ORNAMENT  ALE     FORMEN- 
LEHRE.     Leipzig.     1886.     2  vol. 

16.  Parsons,  F.  A.     INTERIOR     DECORATION. 
Garden  City,  N.  Y.     1915. 

17.  Piranesi,  J.  B.     COUPES,    VASES,    CANDEL- 
ABRES,  ETC.     Paris.     1905.     (Reprint). 

18.  Piranesi,  T-   B.     OEUVRES  CHOISIES-OEUV- 
RES  CHOIS1ES.     Paris.     1913     (Reprint). 

19.  Price,    C.    M.     POSTERS.     New   York.     1913. 

20.  Racinet,    M.    A.    de.     L'ORNAMENT    POLY- 
CHROME.    Paris.     1873-86.     2  series. 

21.  Raguenet,    A.     MATERIAUX      ET      DOCU- 
MENTS.    Paris.     1872.     10vol. 

22.  Reinach,    S.     STORY    OF    ART    THROUGH- 
OUT THE  AGES.     Translated  by  F.  Simmonds, 
New  York.     1904. 

23.  Rieth,    Otto.     SKIZZEN.      Leipzig.    .1892-99. 
4  vol. 

24.  Sparrow,  W.  S.     FRANK   BRANGWYN  AND 
HIS     WORK.     Boston.     1915. 

68 


25.  Shaw,  Henry.  ILLUMINATED  ORNAMENTS 
SELECTED      FROM     MANUSCRIPTS     OF 
THE    MIDDLE    AGES.     London.     1833. 

26.  Speltz,  A.     STYLES   OF   ORNAMENT.     New 
York.     (1906.) 

27.  Tipping,  H.  A.     GRINLING  GIBBONS  AND 
THE  WOODWORK  OF  HIS  AGE.     New  York. 
1914. 

28.  Wagner,  Otto.     SKIZZEN.     Wien.     1905.  3  vol 


VIII.     CITY  PLANNING  AND  LANDSCAPE 
ARCHITECTURE 

An  important  special  collection  in  city  planning  and 
landscape  architecture  is  housed  in  the  Library  of  the 
Department  of  Landscape  Design,  Agricultural  Build- 
ing. 

1.  Hegemann,  W.     DER     STADTEBAU.     Berlin. 
1911-13.     2vol. 

2.  Hubbard,     H.     V.     and     Kimball,      Theodora. 
INTRODUCTION     TO     THE     STUDY     OF 
LANDSCAPE  DESIGN.     New  York.     1917. 

3.  Latham,  C.     THE     GARDENS    OF     ITALY. 
London.     1905.     2  vol. 

4.  Mawson,  T.  J.     THE     ART     AND     CRAFT 
OF      GARDEN      MAKING.     London.     1912. 

5.  Moody,  W.  D.     W7ACKER'S.    MANUAL    OF 
THE   PLAN  OF     CHICAGO     Chicago.    1912. 

6.  Nolen,  John,   (Ed.)     REPLANNING     SMALL 
CITIES.     New  York.     1912. 

7.  Robinson,  C.  M.     CITY     PLANNING.     New 
York.     1916. 

69 


8.  Root,  R.  R.   and  Kelley,  C.  F.     DESIGN  IN 
LANDSCAPE        GARDENING.     New    York. 
1914. 

9.  Triggs,H.I.     GARDEN  CRAFT  IN  EUROPE 

London.     (1913.) 

10.  Triggs,  H.  I.     TOWN    PLANNING.     London. 
(1909.) 

11.  Unwin,  R.     TOWN    PLANNING    IN    PRAC- 
TICE.    London.     1909. 

12.  Weaver,   L.     MEMORIALS      AND      MONU- 
MENTS.    New  York.     1915. 

IX.     COMPETITIONS 

1.  AMERICAN      COMPETITIONS,      T-Square, 
Club,  Philadelphia.     1907-1913.     3  vol. 

2.  BRITISH  COMPETITIONS.     Alexander  Koch, 
(Ed.)     London.     1905-on.     4vol. 

3.  CONCOURS    CHENAVARD.  Ecole  Nationale 
des  Beux  Arts.     Paris.     1909. 

4.  CONCOURS  D 'ECOLE,    Ecole   Nationale   des 
Beaux  Arts.     Paris     No  date.     2  vol. 

5.  CONCOURS  ROUGEVIN  ET  GODEBOEUF. 

Ecole   Nationale   des   Beaux   Arts.      Paris.     No 
date.     2  vol. 

6.  CROQUIS       D 'ARCHITECTURE.     Intime- 
Club.     Paris.     1866-98.     25  vol. 

/.  LES  ESQUISSES  D 'ADMISSION  A  L' 
ECOLE  DES  BEAUX  ARTS.  Paris.  1893-1914. 

8.  LES  GRANDS, PRIX  DE  ROME  D 'ARCHI- 
TECTURE. Ecole  Nationale  des  Beaux  Arts. 
Paris.  Continuation.  5  vol. 

70 


9.  LES  MEDAILLES  DES  CONCOURS  D 'AR- 
CHITECTURE. Ecole  Nationale  des  Beaux 
Arts.  Paris.  1898-on.  15  vol. 


X.     DR.  RICKER'S  TRANSLATIONS 

1.  HISTORY  OF  ANCIENT  ARCHITECTURE. 

Benoit.     2  vol. 

2.  RENAISSANCE        ARCHITECTURE        IN 
GERMANY,    HOLLAND,    BELGIUM    AND 
DENMARK.     Gustav  von  Bezold.     (Handbuch 
der  Architektur.) 

3.  GRECIAN   ARCHITECTURE.     Joseph  Diirm. 
(Handbuch  der  Architektur.) 

4.  RENAISSANCE          ARCHITECTURE       IN 
ITALY.     Joseph  Diirm.   (Handbuch  der  Archi- 
tektur.) 

5.  FRENCH       RENAISSANCE       ARCHITEC- 
TURE.  Von  Geymuller.    (Handbuch  der  Archi- 
tektur.) 

6.  ELEMENTS    AND    THEORY    OF    ARCHI- 
TECTURE.    Guadet. 

7.  ANCIENT,    MEDIAEVAL,    RENAISSANCE, 
AND    MODERN   ARCHITECTURAL   HIST- 
ORY.    Hartmann. 

8.  MEDIAEVAL         CHURCH         ARCHITEC- 
TURE.    Max     Hosak.     (Handbuch  der  Archi- 
tektur.) 

9      MEDIAEVAL  HOUSES.    Otto  Stiehl.     (Hand- 
buch der  Architektur.) 

10.     DICTIONNAIRE  RAISONNE   DE  L'ARCHI- 
TECTURE.     Viollet-le-Duc.     10  vol. 

71 


A   DOORWAY,  EAST  BARSHAM,  NORFOLK, 
FROM  A    DRAWING   BY   NASH 


APPENDIX  A 

A  List  of  Old  and  Rare  Books 
Contained  in  the  Ricker  Library 

VITRUVIUS,  POLLIO 

Architecture.    Tr.  from  the  original  Latin  by  W. 
Newton,  architect.    2  vol.    London.     1791. 

The  Civil  Architecture  of  Vitruvius.     Tr.  by  Will- 
iam Wilkins.     London.     1812. 

Architectura  alibri  dece  traducti.  Tr.  into  Italian 
by  Caesare  Caesariano.     Milan.     1521. 

Les  dix  livres  d'architecture  de  Vitruve.    Tr.  into 
French  by  M.  Perrault.     2d.  ed.     Paris.    1684. 

ALBERTI,  LEONE  BATTISTA 

Architecture.    Tr.  into  Italian  by  Cosimo  Bartoli. 
1st  ed.     Three  vol.  in  one.     London.     1726. 

PALLADIO,  ANDREA 

The  Four  Books  of  Architecture.     Tr.  from  the 
original  Italian  by  Isaac  Ware.     London.     1738. 

BOSSE  ABRAHAM, 

Traite  des  manieres  de  dessiner  les  ordres  de  1'ar- 
chitecture  antique.     Paris.     1664. 

ANDREA  POZZO 

Perspectiva  pictorum  et  architectorum.    Two  vol. 
bound  in  one.     Rome.     1693-1700. 

PIRANESI,  GIOVANNI  BATTISTA 

Le  antichita  romane,  divisa  in  quattro  tomi.  4  voL 
Roma.    1756. 

Delia  antichita  di   Cora.      Bound  with  Lapides 
Capitolini.     Roma.     1762. 

Delia  magnificenza  ed  archittectura  de  Romani. 
Roma.    1761. 

73 


Descrizione  e  designo  dell'emissario  del  Lago  Al- 
bano.  Bound  with  Lapides  Capitolini.  Roma(1764) 

Di  due  spelonche  ornate  dagli  antichi  alia  riva  del 
lago  Albano.  Bound  with  Lapides  Capitolini. 
(1762)  Roma.  1764. 

Diverse  maniere  d'adornare  i  Cammini  ed  ogni 
altra  parte  degli  edifizj....  Roma.  1769. 

Rovine  del  castello  dell'acqua  giulia.  Bound  with 
Lapides  Capitolini  (1762)  Roma.  1761. 

Vasi,  candelabri,  cippi,  sarcofagi,  lucerne  ed.  or- 
namenti  antichi.  Roma.  1778-1791. 

STUART  AND  REVETT 

Antiquities  of  Athens,  4  vol.    London.     1825-30. 

WOOD,  ROBERT 

Ruins  of  Palmyra.     London.     1753. 
Ruins  of  Baalbec.     London.     1757. 

SOCIETY  OF  DILETTANTI 

Ionian  Antiquities  by  Chandler,  Revett,  and  Pars. 
2  vol.  London.  1769. 

Unedited  Antiquities  of  Attica.     London.     1817. 

CAMERON,  CHARLES 

The  Baths  of  the  Romans.  2  vol.  London.  1772-75 

ADAM,  ROBERT 

Ruins  of  the  Palace  of  the  Emperor  Diocletian  at 
Spalatro  in  Dalmatia.  London.  1764. 

TAYLOR  AND  CRESY 

The  Architectural  Antiquities  of  Rome.  2  vol. 
London.  1822. 

INWOOD,  HENRY  WILLIAM 

The  Erechtheion  at  Athens.     London.     1827. 


74 


CASTELL,  ROBERT 

Villas  of  the  Ancients  Illustrated.     London.    1728. 

KIRBY,  JOHN  JOSHUA 

Perspective.     London.     1718. 

DESGODETZ,  ANTOINE 

Les  edifices  antiques  de  Rome,  pub.  par  George 
Marshall.     2  vol.       Londres.   1795. 

DURAND,  JEAN  NICOLAS,  LOUIS 

Recueil  et  Parallele  des  Edifice  en    Tout    Genre. 
Paris.     An.  IX.     (1800). 

BLONDEL,  FRANCOIS 

L'architecture  Francaise,  4  vol.    Paris.     1752-56. 


75 


APPENDIX  B 
CONTENT  OF  THE  RICKER  LIBRARY 

A  general  classification  of  the  books  in  the  Ricker 
Library  according  to  the  Dewey  Decimal  System  with 
a  graphical  indication  of  relative  content  in  each  cate- 
gory. 
Miscellaneous    Books    Related    to    Architecture    and 

Allied   Subjects 

690  BUILDING 

691  Materials,  Processes 

692  Plans,  Specifications 

695  Roofing,  Slating,  Tiling 

697  Heating,  Ventilation 

700  FINE  ARTS 

709  History  of  Art,  General 

710  LANDSCAPE 

720  ARCHITECTURE 

720  3  Dictionaries  of  Architecture 

720  5  Periodicals 

720  9  History  of  Architecture 

721  Architectural  Construction  ... 

722  Ancient  and  Oriental  Archi- 

tecture  - 

722  7  Roman  Architectuer 

722  8  Grecian  Architecture 

723  Mediaeval  Architecture 

723  2  Byzantine  Architecture 

7234  Romanesque  Architecture... 

723  5  Gothic  Architecture 

724  Modern  Architecture - 

724  1  Renaissance  Architecture.... 


76 


725  Public  Buildings - 

726  Ecclesiastical  Buildings - 

727  Educational  and  Scientific 

Buildings - 

728  Residences - 

728  Architectural  Design  and  De- 

coration   - 

729  3    Elementary    Forms,    The 

orders - 

730  SCULPTURE - 

740  DRAWING,  DECORA- 
TIONS, DESIGN - 

742  Perspective - 

744  Mathematical    and    Scientific 

Drawing - 

745  Ornamental  Design - 

747  to  749  Interior  Decoration. ...- 
750  to  759  Oil  and  Water  Color 

Painting,  Essays,  etc - 

760  to  770  Etchings  and  Prints, 

Technical  Processes,  etc - 

910  to  917  Travel  and  Description- 

927  Biography - 

Miscellaneous  subjects  not  listed 

elsewhere....  ....- 


77 


A     000  737  300     4 


